AVAILABLE FOR AUSTRALIAN ORDERS ONLY
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Following last year’s internet-ally acclaimed debut and 12XU 7” here is the second full length from these Austin treble addicts. Pitchfork, Noisey, WFMU, Adhoc, Impose, etc., etc., loved the first one and this record is better.
“No second-salvo stumble for this ulcerative Austin post-punk quartet. Collisions lives up to its title by unleashing one curiously bent sonic skeleton after another, fomenting a steam-heated mix of unrest and exhilaration. Roots stretching back more than a decade to when the belligerents were still juveniles, the Ghouls’ yowling performance aesthetic taps clear antecedents in local scuzz-punk. The distressed structure of their short/sharp bursts nevertheless bears a closer relationship to first-wave Cleveland exports like the Pagans and Electric Eels. Breakneck opener “Teeth” twists a sinewy guitar repetition around a hybrid surf/hardcore beat as group leader Corey Anderson soliloquizes like a chemical-huffing teen messiah. The LP’s longest song, “Hezbollah,” tops out at 3:20. The extended length momentarily allows the contagious spastic rhythm to take precedence and induce highway hypnosis before “Row” summons baseball bats to punch clocks with slug-paced industrial malaise. 3.5″
“I’m not sure if there’s a single garage-rock outfit, at the present, that hits as bat-to-the-skull hard as Ghetto Ghouls, an Austin band modeled on the stylings of Fatal Flying Guilloteens, Swell Maps, and The Sonics. It’s like one of those early Thermals records: Riffs, man!!! That’s what we all want these days, no? There’s so much pent-up energy released it’s a gotta-see-‘em-in-concert situation for sure. Not that I ever get out of the house these days (though hey, I’ve had several good runs and will have several more); I don’t deserve Ghetto Ghouls the way I laze around with my babiez. But hey that’s life. I think Collisions is a genuine replacement for the ‘real thing,’ too; unlike a lot the garage rekerdz (ha anyone else remember Estrus? they were an exception to this for sure) of the 90s, folks these days are content to capture all the grit and tit of on-the-spot dynamics, and I’m grateful for that.”
Tiny Mix Tapes